Carlota García-Alamán Sanchez

About Carlota García-Alamán Sanchez

Posts by Carlota García-Alamán Sanchez:

Purpose

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With the sudden rise of the body positivity, eco friendly and socially responsible mindset, fashion industry has had to level up their Corporate Social Responsibility (CSR). Starting in the 50s with the publication of several books about morals and business values (Londrigan and Jenkins, 2018), this concept of socially and environmentally responsible corporations became crucial not only for the label and its image, but also for the consumer and their choices. Nowadays, it is a fact that more than half percent of the buyers prefer and actually do buy from companies with good CSR (Londrigan and Jenkins, 2018). Of course, that alone is a very good reason for companies to build a good “purpose” , but there is a lot more to it than the sales or image. 

Clothes is what protects humans from the world, from extreme temperatures to society and prejudice (Corner, 2016). It’s core utility is to keep the wearer safe, physically and emotionally. Both of them are the labels job to achieve; physically by making clothes that are safe to produce, buy and wear, using responsible methods and materials; and emotionally by forming a sense of well-being, welcoming and satisfaction because of consuming.

Starting with the making of their products, brands urgently need a responsible way to produce. Environmentally responsible materials, factories, transport and overall transparency are a must now. 

Moran (2022), The different generations use of social media platforms for fashion inspiration.

Secondly, their values and what they share with the public. A good or bad brand representing can drastically change how it works. Society is really keen on politics and public discussion topics, and brands have a right to speak. It is really important to have beliefs and defend them, but the communication of them, or even the beliefs can become a burden because of ideological disagreement. The importance of communication is rising, and the decision wether to position the brand and risk the rejection of a part of the public is crucial. Social media and networks are the best way to get to Gen Z (Moran, 2022) (Fig. 1), the new leading generation, and brands that know how to take advantage of the incredible spread that they allow are making the difference, Balenciaga for example (Fig. 2). 

Instagram (2022), Balenciagas Instagram feed, mostly ethical questions.

Lastly, the ethos of the brand can not be executed without actions, so the use of the profit and the networking of the companies for the good are also part of the pillar. Actual work, actions and projects are what is really effective for the brand to pursue their purpose, and it is a joint of producing, communication and profit use. 

Purpose is crucial for brand image, for sales and for the possibility of actually working towards a better world. 

Sources:

Corner, F. (2016). Why fashion matters. London: Thames & Hudson.

Moran, G. (2022). Gen Z and Millennials 2022. [online] Drapers. Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022.

Londrigan, M.P. and Jenkins, J.M. (2018). Fashion supply chain management. New York: Fairchild Books, An Imprint Of Bloomsbury Publishing Inc.

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PROFIT

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Fashion is responsible for no less that 2% of the worlds GDP (Vilaça, 2021), being one of the most influential industries in global economy. Seeing that, it is no surprise that “profit” is one of the pillars that the UNEP proposed as the mainstays of sustainability. This pillar is often interpreted as the careful, respectful and ameliorative management of capital and contributors within a business, but is it only that?

nmode.ca (n.d.)

In an economy that is solely based in capitalism and its money retrieving, spending and accumulating ethos, of course the capital meaning is an essential part. Fashion, as one of the main contributors to this concept of market, is responsible for many of the consequences it has on our environment and lives. The process of fashion production is divided into sectors; textile design and production, fashion design and manufacturing, fashion retailing, marketing and merchandising, and media and marketing (bfashionacademy, 2021)(Fig.1). It is frequent for fashion houses and labels to outsource some of the sectors, creating an uncertainty about the value of the garment, and therefore creating a big difference between its cost and selling price. Margins between 65 and 70% (Hethorn and Ulasewicz, 2015) are found in almost every sale. This price gap is not really felt in the first world, but is a major agent for the economic injustice in some of the second and third world countries. 

Hence, the outsourcing of these sectors are common equally in the fast-fashion and  luxury fashion market, with them both using the same manufacturers and materials (Corner, 2016). It is a very discreet fact, but for the consumer this means that the promise of higher quality and sustainability is not true, and without that advantage, why are those labels still considered “better” or “luxury”?

This explains why the perception of fashion as any other purchase is wrong, as a very influential artistic and self expressive matter takes part on it. The discussion of whether fashion is an art or a craft has been going for a very long time (Corner, 2016), and it is thanks to designers such as Yohji Yamamoto, Elsa Schiaparelli or Mark Duchamp that we have found a bridge between both (English, 2018). These designers collaborated with some of the best and most avant-garde artists (Fig. 2) to create a fashion that not only consists in clothes, but also in sensations, emotions and imagination. And that is also part of our “profit” pillar. 

Kaya, O. (1949) ”Elsa Schiaparelli dressed as a raddish” (right) and her collaboration with Dalí for her ”Lobster Dress”

Profit is creating something new, it is learning and teaching and it is appreciating what has been done. Profit doesn’t only mean Company shares increasing their value, it also means innovation, sustainability, growth, beauty and art. And also does fashion design. 

SOURCES:

bfashionacademy. (2021). What is Fashion Industry and it’s key factors of Fashion Industry? [online] Available at: https://bfashionacademy.com/key-sectors-of-fashion-industry/.

‌Corner, F. (2016). Why fashion matters. London: Thames & Hudson.

‌English, B. (2018). CULTURAL HISTORY OF FASHION IN THE 20TH AND 21ST CENTURIES : from catwalk to sidewalk. bloomsbury.

Hethorn, J. and Ulasewicz, C. (2015). Sustainable fashion : what’s next? : a conversation about issues, practices and possibilities. New York: Bloomsbury, Fairchild Books, An Imprint Of Bloomsbury Publishing Inc.

Kaya, O. (1949). Elsa Schiaparelli dressed as a Radish. Available at: https://www.researchgate.net/figure/a-Elsa-Schiaparelli-Surrealism-b-Salvador-Dali-Elsa-Schiaparelli-a-Left-Womans-Dress_fig1_352555193 [Accessed 20 Oct. 2022].

mmode.ca. (n.d.). Montreal and Québec Fashion Designers and Businesses | mmode. [online] Available at: https://mmode.ca/en/industry/players/ [Accessed 23 Oct. 2022].

‌Vilaça, J. (2021). Fashion Industry Statistics: The 4th Biggest Sector Is More Than Clothing. [online] Fashinnovation. Available at: https://fashinnovation.nyc/fashion-industry-statistics/.

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PEOPLE

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Freud, Aristotle, Aroson, and many other of the biggest thinkers that have led human thought have stated human races need to belong. Humans are social animals that need a group and a common culture within that group to feel realized and comfortable (Higgins T, 2012). Being accepted is a basic need, it is a natural and crucial factor to psychological well-being, but with mankind evolution it had been progressively set aside creating a society in which acceptance was not easily found and boldness was a threat to belonging.  

But the same way fashion is a recurring cycle of trends (Mingèlaitè U. 2019), human behavior tend to live in this same introduction-rise-decline-obsolescence pattern. This means that a lot of principles and preoccupations that had been mostly unattended are coming back, one of these worries being the acceptance of an individual in a group. 

This is where inclusion and diversity resource, with humankind need to belong. 

 Since Coco Chanel started creating fashion for the group instead of the individual buyer in the 1950s (English B, 2013) this concept of diversity as the fact and need of belonging in society has extended until where we are now, when there is no longer a need to discard individuality to be welcomed. 

 With the rising importance that this new generation give to their values on ethics, equality and diversity, this being 46.8% of gen z consumers demanding it (Fig. 1), and with the divergence in likings and trends (Moran G, 2022), it is clear that Gen Z, as consumers, are the living proof of the “group composed by individuals” thinking.

Moran G, 2022

This next peer group are interested in the relation that their own personal style and their colleagues could create a group in which every style, personality, age, sexuality, nationality and race are taken care of (Hethorn J and Ulasewicz C, 2015). The future of fashion is to move away form the belief that a group is formed by a cumulus of similar consumers and get to accept and promote the idea that it is now a heap of very different people. To stop creating fashion for the mass without meaning is a need, and to start offering more customized choices is too. This is largely represented in the interest for vintage clothing, uniqueness and exclusivity being one of the most valued aspects of these pieces. Every small business has an opportunity in this new model, and stores such as Nasty Gal, an online vintage retailer, have grasped this chance and exceeded everyones expectations. 

Fashion industries biggest challenge right now is to find the balance between individuality and customization of the buying and design, and the need of diversity, values and sustainability Gen Z are increasingly demanding (Hethorn J and Ulasewicz C, 2015).

SOURCES:

A, P., Kruglanski, A.W. and E Tory Higgins (2012). Handbook of theories of social psychology. Vol. 2. Los Angeles: Sage.

English, B. (2018). CULTURAL HISTORY OF FASHION IN THE 20TH AND 21ST CENTURIES : from catwalk to sidewalk. bloomsbury.

Hethorn, J. and Ulasewicz, C. eds., (2021). Sustainable Fashion What’s Next?: A Conversation about Issues, Practices and Possibilities. Second edition ed. [online] Fairchild Books. Available at: https://www-bloomsburyfashioncentral-com.arts.idm.oclc.org/encyclopedia?docid=b-9781501312250 [Accessed 14 Oct. 2022].

Higgins, T. (2012). Handbook of Theories of Social Psychology. [online] SAGE Publications. 

Mingélaité, U. (2019). Why Are Fashion Trends Returning? [online] L’Officiel. Available at: https://www.lofficielbaltic.com/en/fashion/why-are-fashion-trends-returning [Accessed 13 Oct. 2022].

‌Moran, G. (2022). Gen Z and Millennials 2022. [online] Drapers. Available at: https://www.drapersonline.com/guides/gen-z-and-millennials-2022.

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Planet

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In the 19th and 20th century, planet Earth was so badly treated that when the 21st century started, humanity was threatened with getting to the limit of its resistance (Fletcher K. And Grose L., 2012). Action was needed, so the UNEP defined “Environment” as one of the basic pillars for human existence and the UN created 17 SDGs to try to safeguard it. Six of these goals are directly linked to environmental care, consisting basically in achieving ecological stability (Gwilt A., 2020). 

Constanzo S. (2017)

This means changing the conventional linear economy that consists in taking, making and wasting, and conversing it into a new circular economy that makes a responsible use of what it takes, keeping resources in use for as long as possible (Lench A., 2022). 

Fashion industry is one of the most affected by this change, as it connects every other one in its production. From the obtaining of raw material to the retail or waste of these used pieces, the whole system is facing the need to change towards a more responsible way of producing. This not only means not creating waste or pollution, it means achieving a production that doesn’t put any other pillar in danger, creating a revolution running towards transparency and consideration for everything that surrounds it. 

Ellen MacArthur Foundation (2021)

Given that 80% of the worlds resources are being consumed by 20% of the population (Gwilt A., 2020), this could start by seeking an equilibrium between peoples actual needs and what is produced. More than 100 billion garments are produced each year (Fashion Revolution, 2019), an unbalanced number knowing that there are only 8 billion people in the world. 

AtKisson A. (2017)

Focusing on the “Responsible consumption and production” goal could be the trigger for many other SDGs to thrive. In fact, all of these goals are linked to one-another and by simply taking action in one of them, many others could benefit from it. In this case, the challenge that fashion industry currently faces in becoming transparent about their textile sources, worker conditions, usage and after use effects amongst many others, is a very good opening move towards the completing of other goals such as “clean water”, “good health and well-being” and even “peace, justice and strong institutions”. 

Todays society has an opportunity to create a pattern of evolution that  starts in creating a circular economy fashion-wise but end up in the achieving of all of the sustainable development goals. Because as well as the fashion production is a chain, society’s behavior and customs are one, and the change of an attitude in one segment of the population has a domino effect on everything that surrounds it. 

Citations:

AtKisson, A. (2017). With the SDGs, everything is connected. [online] GreenBiz. Available at: https://www.greenbiz.com/article/sdgs-everything-connected [Accessed 5 Oct. 2022].

‌Constanzo Snow, S. (2016). Sustainable Development – What is there to know and why should we care? Available at: https://www.unssc.org/news-and-insights/blog/sustainable-development-what-there-know-and-why-should-we-care [Accessed 6 Oct. 2022].

Dean, C. (2019). Waste – is it ‘really’ in fashion? [online] Fashion Revolution. Available at: https://www.fashionrevolution.org/waste-is-it-really-in-fashion/ [Accessed 7 Oct. 2022].

Fletcher, K. and Grose, L. (2012). Fashion & sustainability : design for change. London, England: Laurence King.

Gwilt, A. (2020). Practical Guide To Sustainable Fashion. S.L.: Ava Academia.

Lench, A. (2022). Intro to Fashion Sustainability & the Sustainable Development Goals. [online] Available at: https://moodle.arts.ac.uk/pluginfile.php/1469932/mod_label/intro/FBS%20Intro%20to%20Fashion%20Sustainability%20and%20the%20SDGs%20%20%20%281%29.pdf.

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